Horror Archives - Page 8 of 41 - FILM FREAK CENTRAL

Fantasia Festival ’20: Lucky

August 27, 20202020, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Thriller

*½/****
starring Brea Grant, Hunter C. Smith, Yasmine Al-Bustami, Kristina Klebe
written by Brea Grant
directed by Natasha Kermani

by Walter Chaw When you make the subtext the text, you have text and no subtext. I’m uncomfortable saying that things like Natasha Kermani’s Lucky (from a script by star Brea Grant) are not good, because sometimes that’s taken as a comment on the text rather than the execution of the text. More often, and I’m not even sure this isn’t fair to say, it’s taken as evidence that men can only review films made by women as men would see films made by women. That’s literally true. When I watch something like Sophia Takal’s Black Christmas, the second reboot of Bob Clark’s seminal slasher, I’m starkly confronted by the divorce between what I’m watching and my knowledge of what its messages mean to so many. I think it’s imperative that women speak out about men and have the means to do so. That said, Black Christmas, the reboot of Rabid, and now Lucky move me only as intellectual exercises and not as calls to action. They’re rally speeches, not poetry. At least, they’re not poetry I can understand.

Fantasia Festival ’20: Fried Barry

August 25, 20202020, Authors: Walter Chaw, Comedy, Fantasia Festival, Film Festivals, Horror, Sci-Fi, South Africa

***½/****
starring Gary Green, Chanelle De Jager, Bianka Hartenstein, Sean Cameron Michael
written and directed by Ryan Kruger

by Walter Chaw South African hyphenate Ryan Kruger’s debut Fried Barry is just really fucking delightful, an amalgamation of The Greasy Strangler and John McNaughton’s unfairly-forgotten The Borrower. The glue that seals the grimy, appalling parts together is, of all things, E.T.. It’s in that juncture between the obscene and the profound where Fried Barry finds its singular genius as a creature so foul that when it suddenly, briefly, becomes Save the Green Planet! but with the victim/protagonist/antihero the saviour of a group of girls held in a pedophile’s torture dungeon, what already defied description suddenly becomes… Is it art? At least it’s useful, cogent, maybe brilliant surrealism in that by turning into something familiar, all of the bizarreness racks into focus as a critique of the conventions of our popular entertainments. Why, for instance, is E.T., a film about an alien symbiote attached to a child nearly to the point of killing the child, so beloved a family classic? Look, you’re either with it, or you’re decidedly not. But if you’re in, so is Fried Barry. Oh, mate, Fried Barry is emphatically in.

The Unholy (1988) [Vestron Video Collector’s Series] – Blu-ray Disc

August 23, 20201980s, 2020, Authors: Bryant Frazer, Blu-ray Disc, Horror, UK

**/**** Image B+ Sound A- Extras A-
starring Ben Cross, Ned Beatty, William Russ, Jill Carroll
written by Philip Yordan and Fernando Fonseca
directed by Camilo Vila

by Bryant Frazer The Unholy, a moderately-budgeted religious horror drama from Vestron Pictures, is notable mostly for its outsized ambitions. Sure, it has the B-movie elements you’d expect from a late-1980s genre outing with Satanic undertones. There’s a troubled, tempted priest, a couple of gory set-pieces, and a phalanx of latex monsters that storm into the final act. But it also boasts moody cinematography, leisurely plot development, and a mini-dream team of character actors. Want to see Ned Beatty and Hal Holbrook play a scene together for the only time in their careers? You want to see The Unholy. How about an elderly Trevor Howard, in his final role, as a blind demonologist? The Unholy is the movie for you. Or the recently-deceased Ben Cross as a Catholic priest with an expiration date of Easter Sunday? You guessed it: The Unholy. It’s an unusually earnest variant on those Catholic-themed horror movies that became A Thing in the 1970s, after The Exorcist and The Omen established an audience for lurid horror dressed up with religious themes and prestige names.

Fantasia Festival ’20: Climate of the Hunter

August 23, 20202020, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Mystery, Vampire

***/****
starring Mary Buss, Laurie Cummings, Ginger Gilmartin, Ben Hall
written by Mickey Reece and John Selvidge
directed by Mickey Reece

Fantasia Festival runs from August 20 to September 2, 2020. For more details, visit their website.

by Walter Chaw Micky Reece’s Climate of the Hunter is a delightful riff on ’70s no-budget grindhouse psychedelia–a take on Stephanie Rothman’s The Velvet Vampire that unlike, say, The Love Witch, understands The Velvet Vampire as something other than just aesthetics to be aped. Which is not to say Climate of the Hunter isn’t aesthetically spot-on, even beautiful at times, in its filmic, weathered, period-appropriate way, but rather that it additionally captures that specific air of griminess attendant to artifacts like Rothman’s picture: the feeling that it’s not operating under any rules, so all bets are off. There’s a maverick quality to it, and a sly sense of self-knowing humour that stops short of being self-satisfied.

Fantasia Festival ’20: The Columnist

August 17, 20202019, 2020, Authors: Walter Chaw, Comedy, Fantasia Festival, Film Festivals, Horror, Netherlands

*/****
starring Katja Herbers, Bram van der Kelen, Claire Porro, Rein Hofman
screenplay by Daan Windhorst
directed by Ivo van Aart

by Walter Chaw Pity the hot-button Film of the Moment that is still somehow not about very much at all. Such is the fate of Ivo van Aart’s The Columnist, which tackles Twitter and online trolling with style to burn and a game cast with nothing much to do and even less to say. Femke (Katja Herbers) is a widely-read columnist who’s made some enemies by suggesting that Zwarte Piet is racist and that women should be treated as human beings. Addicted to social media, she makes the fatal error of reading the comments, is driven mad, sort of (I think), and starts murdering her trolls after Googling them. There’s something about how she’s blocked until after she kills someone, at which point she’s able to pump out another widely-read piece about some meaningless piffle that keeps her employed. Worse, she’s now under a deadline (haha, see what I did there?) to complete a book–a setup for either escalation or piquant irony, though in the case of The Columnist, it’s setup for tepid social commentary made instantly impotent by the hellscape of our current reality.

Host (2020) – Shudder

August 5, 20202020, Authors: Walter Chaw, Horror, Streaming, UK

***½/****
starring Haley Bishop, Radina Drandova, Jemma Moore, Caroline Ward
written by Gemma Hurley, Rob Savage, Jed Shepherd
directed by Rob Savage

by Walter Chaw I’ve spoken in front of audiences large and intimate. I’ve hosted discussions in opera houses, stadiums, and gymnasiums, as well as seminars in classrooms and private homes. When the pandemic hit and I suddenly found whatever teaching or speaking opportunities I was still being offered relegated to “Zoom” meetings, for the first time speaking in public as a professional, I knew anxiety and fear. There’s something about it. Is it that everyone is a foot away from your face? I hosted a discussion group recently that had over 100 attendees. On Zoom, that means there are pages and pages of participants you can scroll through as you’re talking, and it means that every time someone so much as moves, you’re distracted by it. Thrown. Unsettled. Of all the things I didn’t anticipate about this odd period in our time together, it’s this new horror of engagement. Zoom, the fractured screen it represents, reminds me of that scene in Playtime where M. Hulot visits an old war buddy in an apartment building where an entire wall is made of glass. It’s uncanny, wrong, unnatural in a constructed way. It feels like a vivarium, like that old “Twilight Zone” where an astronaut realizes when a wall falls away in his house that he’s on display in an alien zoo. I’m afraid to look, because I see more than the subject can see. I’m afraid because I know they see more than I can see, too. I’m afraid because, in these things, I’m having an intimate, face-to-face conversation with dozens of people I can’t all see, much less respond to. Zoom is a vampire, and I am drained.

The Rental (2020)

July 29, 20202020, Authors: Walter Chaw, Horror, Thriller, VOD

**/****
starring Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White
screenplay by Dave Franco & Joe Swanberg
directed by Dave Franco

by Walter Chaw The good version of The Rental, Dave Franco’s directorial debut (which he co-wrote with Joe Swanberg), reminds a lot of Paul Etheredge-Ouzts’s exceptional Hellbent in how it addresses prejudice through the application of genre conventions. The bad version of The Rental is the one that isn’t about any of that and is maybe a little bit racist in that well-intended way people who would be horrified to be thought of as racist are a little bit racist. The good version finds a quartet of friends, lovers, and brothers away for a weekend of privileged R&R at an extravagant Airbnb to celebrate the closing of some big deal that will make them richer with more time and disposable income than they already have. The brothers are unctuous Charlie (Dan Stevens) and pugnacious Josh (Jeremy Allen White). Charlie is married to irritating Michelle (Alison Brie) and business partners with Iranian-American Mina (Sheila Vand), whose main character trait is that she is obviously Iranian-American. That part is from the bad version of The Rental. The good version finds them away on their weekend holiday, met at their rental destination by creepy good ol’ boy Taylor (an exceptional Toby Huss), who has apparently rejected Mina’s attempt to rent–only to go with the white applicant immediately.

The Beach House (2020) – Shudder

July 7, 20202020, Authors: Walter Chaw, Horror, Streaming

**/****
starring Liana Liberato, Noah Le Gros, Maryann Nagel, Jake Weber
written and directed by Jeffrey A. Brown

by Walter Chaw What’s the conversation to be had around William Eubanks’s Underwater, Neasa Hardiman’s Sea Fever, and now Jeffrey A. Brown’s The Beach House? How all three, released within six months of each other, foreground a young, capable, female protagonist who understands better–and sooner–than anyone else the nature and intent of an all-consuming calamity. How all three are set in and around the ocean, that archetype of the unconscious for poets and philosophers. And how all three end with what is essentially a return–is it a reunion?–for their unheeded, uncelebrated triumvirate of seers. Indeed, they seem more like heralds than criers. The timing of the films is curious, certainly, and although H.P. Lovecraft seems the denominator for all three, in truth the better archetypal thread to pull here is the vagina dentata: the Charybdis, to be avoided for her indiscriminate thirst. They are fables of a very particular apocalypse, where a masculine impulse towards colonization, exploration, and industrialization has led to the Earth pushing back in pursuit of some sort of equilibrium. In that context, of course, it’s a woman, particularly a young woman, who would recognize both the affront of a full-frontal violation and the retributive rearguard solution. These movies are violent in the way childbirth is contextualized as violent. Lots of shit goes down inside a chrysalis, too.

The Invisible Man (2020) – 4K Ultra HD + Blu-ray + Digital Code

May 25, 2020****/****, 2020, 4K Ultra HD, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, FFC Must-Own, Horror, Mystery, Sci-Fi, Thriller

Please note that all framegrabs are from the 1080p version

****/**** Image B+ Sound A Extras A-
starring Elisabeth Moss, Aldis Hodge, Storm Reid, Oliver Jackson-Cohen
screenplay and screen story by Leigh Whannell
directed by Leigh Whannell

by Walter Chaw Leigh Whannell’s The Invisible Man is a masterpiece–an adaptation not so much of H.G. Wells’s book or the James Whale film of it, but of Gavin De Becker’s indispensable The Gift of Fear, a guide for how women can learn to trust their intuition, overcome their denial, and identify signs of men on the verge of becoming violent. Men murder the women they want to possess every day and often bring harm to others in the process. As Margaret Atwood infamously summarized, a man’s greatest fear is that a woman will laugh at him and a woman’s greatest fear is that a man will kill her, and this has shaped our behaviours as a society. Men, as it happens, tend to support other men who are brought to answer for their actions, while women who speak out are castigated, cast out, and blamed for their own victimization. Virtually the only thing the “me too” movement has brought about is false confidence that it’s safe for women to speak out without fear of losing their position or reputation. The world is a foul sty and the bad sleep well.

Vivarium (2020)

March 27, 20202020, Authors: Walter Chaw, Comedy, Horror, Satire, VOD

***½/****
starring Imogen Poots, Jesse Eisenberg, Jonathan Aris, Molly McCann
screenplay by Garret Shanley
directed by Lorcan Finnegan

by Walter Chaw Lorcan Finnegan's Vivarium cues what it's going to be about with a title that could, arguably, also describe movies: artificial, controlled environments constructed for the observation of collected specimens. As the film opens, nature footage of a cuckoo bird pushing baby birds out of their nest to take their place segues into grammar-school teacher Gemma (Imogen Poots) leading a classroom of kids acting out a windstorm. In the next scene, Gemma counsels one of her young charges as the child discovers the dead-bird babies on the ground beneath a tree. A cuckoo could be responsible, she says, and it's terrible, of course, but it's nature. If you were to stop watching Vivarium there, about five minutes in, you'd miss some fun stuff, but the whole film has already been summarized. The picture boils every impulse down to biological impetus, you see. But rather than making Vivarium simplistic, this philosophical determinism makes the behaviours of its subjects extraordinarily complex and interesting.

Black Christmas (2019); The Grudge (2020); Color Out of Space (2020)|The Grudge (2020) – Blu-ray + Digital

March 11, 20202019, 2020, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Christmas, Horror, Malaysia, Mystery, New Zealand, Nicolas Cage, Portugal, Sci-Fi, Thriller

BLACK CHRISTMAS
**½/****
starring Imogen Poots, Aleyse Shannon, Lily Donoghue, Cary Elwes
written by Sophia Takal & April Wolfe
directed by Sophia Takal

THE GRUDGE
***/**** Image A Sound A Extras B
starring Andrea Riseborough, Demián Bichir, John Cho, Jacki Weaver
screenplay by Nicolas Pesce, based on the film Ju-On: The Grudge, written and directed by Takashi Shimizu
directed by Nicolas Pesce

H.P. Lovecraft’s Color Out of Space
**½/****
starring Nicolas Cage, Joely Richardson, Madeleine Arthur, Tommy Chong
written by Richard Stanley and Scarlett Amaris, based on the short story “The Colour Out of Space” by H.P. Lovecraft
directed by Richard Stanley

by Walter Chaw The horror genre is one that’s particularly suited for remakes. At their best, scary stories deal in archetypal images in pursuit of exorcising essential concerns. They’re fairy tales, fables. They’re warnings carrying lessons for the survivors. I think they’re how the bulk of human culture was transmitted and instrumental in our species’ survival, offering explanations for why sometimes people don’t come home if they’re caught out in the night or wander off the trail or split up from the safety of the pack. They talk about outsiders, alien threats, and other invaders infiltrating from without and within: the dangers of transgression and the failures of denial. They are Jungian shadow projections made grotesque by their repression. They grow like obscene toadstools in the soft earth of our subconscious. A good horror story should be remade for every generation. Jack Finney’s Invasion of the Body Snatchers is a prime example of a premise made fresh across several decades–each time, each new film adaptation, a different social anxiety grows into its central metaphor, so it becomes a touchstone evergreen in the development of our understanding of the dangers of the greater world. Horror movies, good ones, have something to say. If you listen.

Swallow (2020)

March 5, 20202020, Authors: Walter Chaw, Drama, France, Horror, Theatrical, Thriller, VOD

**½/****
starring Haley Bennett, Austin Stowell, Elizabeth Marvel, Denis O’Hare
written and directed by Carlo Mirabella-Davis

by Walter Chaw Robert Altman’s McCabe & Mrs. Miller ends with our Mrs. Miller on an opium trip, absorbed in close contemplation of the smooth, alien landscape of a trinket that’s caught her eye. We go on that trip with her, zooming in as she zooms out, skating along the polished curve of some uncharted dimension in an undiscovered country. Meanwhile, out in a snowstorm, the idiot who loves her dies alone. In Carlo Mirabella-Davis’s debut feature Swallow, lonesome, abused young wife Hunter (Haley Bennett), because she’s trapped, isolated, and miserable, swallows a small glass marble that is the colour of Mrs. Miller’s bauble and, as it happens, serves a similar function of distraction, providing a similar illusion of control. Hunter has “pica,” a medical/psychiatric condition that causes its sufferers to swallow items that are not edible–in many cases, not even biological. I don’t know anything about this disorder beyond what the Internet tells me, but how it functions as the outward expression of Hunter’s loss of agency is fascinating and on point.

The Invisible Man (2020)

February 29, 2020****/****, 2020, Australia, Authors: Walter Chaw, Canada, Horror, Mystery, Sci-Fi, Theatrical, Thriller

****/****
starring Elisabeth Moss, Aldis Hodge, Storm Reid, Oliver Jackson-Cohen
screenplay and screen story by Leigh Whannell
directed by Leigh Whannell

Honey Boy (2019) + The Lighthouse (2019)|The Lighthouse – Blu-ray + Digital

February 4, 20202019, 2020, Authors: Bryant Frazer, Authors: Walter Chaw, Canada, Drama, Horror, Mystery

HONEY BOY
***½/****
starring Shia LaBeouf, Lucas Hedges, Noah Jupe, FKA twigs
written by Shia LaBeouf
directed by Alma Har’el

THE LIGHTHOUSE
***½/**** Image A- Sound A Extras B+
starring Robert Pattinson, Willem Dafoe
written and directed by Robert Eggers

by Walter Chaw There is a suggestion in Alma Har’el’s haunted, raw Honey Boy that the only knowledge forbidden in the United States is that of the self. The picture aligns in that way with Robert Eggers’s similarly haunted The Lighthouse; both films deal in a sense with the sins of the fathers becoming the secret trauma of the sons. They diverge, though, not in the process of peeling away layers and layers of sedimentary fragments the everymen of these dramas have shored against their ruins, but in what they discover at the end of their excavations. To my depressed hope, the final image of The Lighthouse, which promises this cycle of suffering is evergreen, ever-returning, and inevitable, sounds something like the truth. At the other pole is Honey Boy, which, in the course of one of its fantasy sequences, offers, of all things, reconciliation. It says that there’s hope at the end of all the suffering, that the map actually leads to buried treasure and not just the skeletons of the things left to guard it (their ranks are full but they’re always recruiting). I’m not sure I’m compelled by the case it’s trying to make, particularly as this story has more to tell, but there’s a power to its piquant grace and love and acceptance.

Doctor Sleep (2019) – 4K Ultra HD + Blu-ray + Digital Code

February 3, 20202019, 2020, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Horror, Stephen King, Thriller

Please note that all framegrabs are from the 1080p version

***/**** Image A- Sound A+ Extras B-
starring Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis
screenplay by Mike Flanagan, based on the novel by Stephen King
directed by Mike Flanagan

by Walter Chaw Like the book upon which it’s based, Mike Flanagan’s Doctor Sleep is in constant tension with its legendary progenitors. It’s not unlike Harper Lee’s Go Set a Watchman in that sense: if a film version were ever attempted, it would likewise be dealing with not only the legacy of one of the most revered novels of all time (and I would hazard that The Shining isn’t just popular, but great), but one of the most revered film adaptations, too. Just as it’s impossible to read Lee’s sequel without picturing Gregory Peck as Atticus and Mary Badham as Scout, it’s impossible to read Stephen King’s Doctor Sleep without imagining entire scenes from Kubrick’s The Shining overlaying the text like the memories haunting that film’s Overlook Hotel. How, for example, will Flanagan handle the death of beloved Overlook chef and Danny’s mentor in extra-sensory perception, Dick Hallorann? In the book, Dick lives. In the film, where he’s played iconically by the inimitable Scatman Crothers, he most assuredly does not. Go the one way and piss off King, who’s held a grudge against Kubrick and The Shining for decades now; go the other and you’re pissing off virtually everyone else by pretending an all-time classic picture never existed.

Sundance ’20: High Tide

January 30, 20202020, Argentina, Authors: Walter Chaw, Film Festivals, Horror, Sundance, Thriller

***½/****
starring Gloria Carrá, Jorge Sesán, Cristian Salguero, Mariana Chaud
written and directed by Verónica Chen

by Walter Chaw Verónica Chen's astonishing High Tide threatens for a while to be the distaff version of Alain Guiraudie's Stranger by the Lake before it takes something like a turn into the basement of some dark, dismal, class-based noir. It opens with rich, anxious Laura (Gloria Carrá) dancing in front of an uncurtained, wall-length window, seemingly aware of the three workmen watching in her yard as the sun goes down and they break for the day. The foreman, Weisman (Jorge Sesán), stays behind to a couple of sly, knowing looks, and engages in a rough seduction that finds Laura at turns the aggressor and the aggrieved. She doesn't like the rough talk. She thinks Weisman's a bit of a pig but softens when he apologizes and calls her "ma'am." It's a clue–though it's not obvious what kind of clue until later. The next morning, she sends him away and, while shopping, gossips to a friend about the size of Weisman's dick and his "animalistic" stamina. It's the set-up for something James M. Cain might have written, but it's told from the point of view of the fatale.

Sundance ’20: Amulet

January 27, 20202020, Film Festivals, Horror, Sundance, UK

***/****
starring Carla Juri, Alec Secareanu, Angeliki Papoulia, Imelda Staunton
written and directed by Romola Garai

by Walter Chaw Romola Garai makes her directorial debut with the gnarly, self-described “feminist” horror film Amulet, which doesn’t tread much new ground until, suddenly, it does. It’s a lovely debut, smart and fruitfully repugnant–an able showcase for Garai as a filmmaker possessed of a nice sense of pacing and a good, gothic eye for object placement and gore. One scene, taking place in the musty attic of a crumbling old house, made me feel exactly the way I felt the first time I saw Clive Barker’s Hellraiser, back when I was a teenager and easier to freak out. Something about unnatural births, and all that, and unexpected apertures opening with unexpected wetness, carried off with this impeccable feeling for archetypally disturbing ideas. Telling more would be telling, but from that point on–about two-thirds of the way in–Amulet not only had my attention, it also had my respect.

Sundance ’20: La Llorona

January 26, 20202020, Authors: Walter Chaw, Drama, Film Festivals, France, Guatemala, Horror, Sundance

***½/****
starring María Mercedes Coroy, Margarita Kénefic, Sabrina De La Hoz, Julio Diaz
written by Jayro Bustamante & Lisandro Sánchez
directed by Jayro Bustamante

by Walter Chaw In a film comprising indelible compositions, one in particular stands out in Jayro Bustamante’s doom-laden La Llorona. It’s not a supernatural tableau, although the film is thick with them, nor is it one from a devastating war-crimes trial where an old Guatemalan general, Enrique Monteverde (Julio Diaz), stands accused of unspeakable atrocities visited upon Mayan women during a horrific, early-’80s pogrom against them. No, the moment that lingers for me is a brief one where a new maid in the General’s household, Alma (María Mercedes Coroy), kneels beside a giant backyard pool and fishes protest flyers out of the water as a frog swims laconically past. The sequence itself captures the mild surreality of a picture set against a sociopolitical reckoning with an ugly period in Guatemala’s history. The General and his family rattle around in a mansion, surrounded by tokens of their affluence. Our first night with them, long-suffering wife Carmen (Margarita Kénefic) is mistaken for a ghost and shot at by the great man, and their daughter Natalia (Sabrina De La Hoz), a doctor only now coming to learn of the crimes of which her father’s accused, also discovers that his facilities are, perhaps greatly, diminished.

Underwater (2020)

January 11, 20202020, Action, Authors: Walter Chaw, Drama, Horror, Sci-Fi, Theatrical, Thriller

**½/****
starring Kristen Stewart, Vincent Cassel, Jessica Henwyck, T.J. Miller
screenplay by Brian Duffield and Adam Cozad
directed by William Eubank

by Walter Chaw Wasting absolutely no time and not interested in talking to you about it, William Eubank’s Underwater is both a model of efficiency and a prototypical post-modernist piece wholly reliant on your familiarity with this genre for its depth and backstory. A seasoned viewer knows that this film is going to be about a small group of survivors picked off one-by-one; that the real bad guy will be corporate greed (or Russian greed, depending); and that if you’re African-American or, God forbid, Asian, you’ll very likely be the first to go. Curiously, it’s in these aquatic thrillers that key exceptions to that rule–Ice Cube in Anaconda, for instance, or LL Cool J in Deep Blue Sea–seem to make their appearance. Maybe the trick to surviving the monster is being a late-’80s rapper. Alas, Mamoudou Athie is not a late-’80s rapper. He plays Rodrigo, friend of plucky engineer Norah (Kristen Stewart), and it’s at his urging that Norah saves their deep-sea drilling platform to initially survive a mysterious event–and then through his noble sacrifice that Norah gets to continue to be heroic. It’s worth dwelling on this conceit, but there’s no time: once the dust settles on the disaster that opens the film, several other disasters follow in rapid succession.

Black Christmas (2019); The Grudge (2020); Color Out of Space (2020)

January 8, 20202019, 2020, Authors: Walter Chaw, Canada, Christmas, Horror, Malaysia, Mystery, New Zealand, Nicolas Cage, Portugal, Sci-Fi, Theatrical, Thriller

BLACK CHRISTMAS
**½/****
starring Imogen Poots, Aleyse Shannon, Lily Donoghue, Cary Elwes
written by Sophia Takal & April Wolfe
directed by Sophia Takal

THE GRUDGE
***/****
starring Andrea Riseborough, Demián Bichir, John Cho, Jacki Weaver
screenplay by Nicolas Pesce, based on the film Ju-On: The Grudge, written and directed by Takashi Shimizu
directed by Nicolas Pesce